mattkprovideo.com/2017/09/12/audio-scar-logo/
Audio Scar band logo , Audio Flash and After Effects I did the animation. I did NOT design the logo.
Audio Scar logo
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Eyeball Animation
Tarantino On Star Trek
mattkprovideo.com/2017/09/11/tarantino-on-star-trek/
Quentin Tarantino On Star Trek And How He Would Direct A Star Trek Movie
He riffs n how frustrated he was that they changed Khan to a caucasian.
I agree, the Kelvins arrival wouldn’t affect Khans race. That happened way before the time shift.
He also riffs on “Yesterdays Enterprise.” It’s apparently his favorite episode. I agree its one of TNG’s best episodes.
https://filmschoolrejects.com/6-filmmaking-tips-from-quentin-tarantino-ccb16e16ba5f/
Emerging from a nitrate fire in 1963, Quentin Tarantino was fed only exploitation films, spaghetti Westerns and actual spaghetti until he was old enough to thirst for blood. He found his way into the film industry as a PA on a Dolph Lundgren workout video, as a store clerk at Video Archives and by getting encouragement to write a screenplay by the very man who would make a name for himself producing Tarantino’s films.
Peter Bogdanovich (and probably many others) think of him as the most influential director of his generation, and he’s got the legendary story to back it up – not to mention line-busting movies like Pulp Fiction, Inglourious Basterds and Django Unchained under his belt. He’s also the kind of name that makes introductions like this useless.
So here’s a bit of free film school (for fans and filmmakers alike) from a guy who really loves Hi Diddle Diddle and plans to keep 35mm alive as long as he’s rich enough to do it.
Lie Until People Think You Worked With Godard
“What happens when you start out acting, you gotta have a resume, and if you ain’t done nothin’, you can’t write ‘Nothing.’ People aren’t gonna pay attention to that so you’ve gotta lie. Alright? I had better luck at it than most because I knew a lot about movies and stuff. I was a fan of Jean-Luc Godard, and he’d just had a movie come out. It was from Cannon back in the 80s or something called King Lear. Woody Allen is in it for a moment, and Molly Ringwald is in it, and I saw it. And, it’s like, there’s no way in hell anyone’s gonna see this movie, so I wrote down under ‘Motion Pictures’ on my resume, ‘King Lear – dir. Jean-Luc Godard w/ Woody Allen, Molly Ringwald.’
I even did that with another movie, too, called Dawn of the Dead, you know, the George Romero zombie movie. Well there was a motorcycle guy in the motorcycle gang who kinda looked like me, so I just said it was.”
Tarantino is quick to point out that he had the lies down, providing anecdotes from the set and details from the movies. The King Lear lie eventually seeped into his biography in press notes after Reservoir Dogs, but since he found it funny (and never corrected the mistakes), the lie spread even further. He was eventually listed in Leonard Maltin’s “Movies On TV” as being in the cast of Godard’s film.
Sadly, IMDB doesn’t list him in it.
Of course, there are a ton of people lying to get work in the movie business, so if you’re going to do it, know what you’re talking about and go with gusto. It might also help to know as much about movies as Tarantino.
Good Artists Borrow, But Great Artists?
“I steal from every movie ever made.”
This may be a key deconstructive criticism for his work, but it might also be that he’s simply more honest than everyone else. If we can’t help but pick bits of inspiration from everything, why not be direct? Why not blend them all together to make something new that looks familiar? Who says a director can’t be more like a DJ?
You Might Make Guitar Picks
Make the Movie On the Page
When asked if Stealers Wheel’s “Stuck in the Middle With You” was what he originally wanted for the torture scene in Reservoir Dogs:
“It’s actually in the script. Which I can tell you I’ll never do again, because the record companies read the script and they know that you want that song. I actually got it – actually extremely cheap – but it was like every other song wasn’t written in the script, so we actually got it for a lot cheaper. They know you want it – it’s written in the script. See, I wanted to make films, and the only thing I could get going was on the page. So I put it all in the script. The big shots. The chase is broken down shot for shot. It’s cut in the script. ‘POV through windshield. Mr. Pink off screen.’ I was making the movie on the page, because it was the only way I could make movies. And then, when I would show it to someone I could say, ‘Look, this is what I’m going to do. I’m not going to do this. Just this.’”
That’s a cardinal sin in screenwriting classes, but if you’re planning on directing (or if you don’t have to prove to anyone why you should be the director), it sounds like solid advice.
Be Impersonally Personal
“My movies are painfully personal, but I’m never trying to let you know how personal they are. It’s my job to make it be personal, and also to disguise that so only I or the people who know me know how personal it is. Kill Bill is a very personal movie.
It’s not anyone’s business. It’s my job to invest in it and hide it inside of genre. Maybe there are metaphors for things that are going on in my life, or maybe it’s just straight up how it is. But it’s buried in genre, so it’s not a ‘how I grew up to write the novel’ kind of piece. Whatever’s going on with me at the time of writing is going to find its way into the piece. If that doesn’t happen, then what the hell am I doing? So if I’m writing Inglourious Basterds and I’m in love with a girl and we break up, that’s going to find its way into the piece.
That pain, the way my aspirations were dashed, that’s going to find its way in there. So I’m not doing a James L. Brooks – I loved how personal Spanglish was, but I thought that where Sofia Coppola got praised for being personal, he got criticized for being personal in the exact same aching way. But that doesn’t interest me, at least not now, to do my little story about my little situation. The more I hide it, the more revealing I can be.”
Think Outside the Casting List
What Have We Learned
Tarantino’s appeal is sort of hidden in plain sight. Yes, it’s easy to love his twisted takes on genre and the beauty of his violent, idiosyncratic characters. But he also represents the movie geek who ascended beyond fandom to become a creator. He is the promise of every cinephile who has even a shred of ambition to write a script or direct. He’s proof that being a huge nerd can pay off in a supreme way. Not just that you can become a filmmaker, but that you can be heralded for doing it exactly the way you want to do it.
His existence and dominance proves that it can be done!
Next: 6 Filmmaking Tips from Edgar Wright
Like Bigelow and others, he’s avoided the mainstream route while finding mainstream success. That’s something afforded to him (as he’s recognized) because his style was so thoroughly embraced by audiences. He didn’t use Pulp Fiction as a springboard to taking on blockbuster budgets within the studio system. Instead, he saw its success as a continuation of the movies everyone wanted him to make – so he happily kept making them.
With intense detail, aggressive focus and just a little bit of lying
Read more at Film School Rejects: https://filmschoolrejects.com/6-filmmaking-tips-from-quentin-tarantino-ccb16e16ba5f/#ixzz4sKMuwihz
Motion Graphics/ Kinetic Type Commercials
mattkprovideo.com/2017/09/09/motion-graphics-kinetic-type-commercials/
Web Commercials made with Adobe Flash ( Animate), Adobe Photoshop, Adobe After Effects, and Adobe Premiere.
Homeless Beatdown
mattkprovideo.com/2017/09/09/homeless-beatdown/
Homeless Beatdown
I saw 3 African American men beat up a homeless man on 6th street ( right near the Driskill Hotel) around 1:30 am.
The attackers told me the homeless person did something to them to provoke this. I don’t remember what it was… I think they said he stole a jacket out of their car.
My phone was off when I saw the fight, and the incident was mostly over by the time my phone was active.
EDIT: I checked the info on my phone itself. It says this was recorded:
September 8, 2017 11:57 pm.
Location
106 Old Pecan Street, Austin Tx 78701 USA
Shia not in indiana jones 5
Indiana Jones’ son, Mutt Williams (a.k.a. Henry Jones III) will not be in the fifth film of the franchise, which was played by Shia LaBeouf in Indiana Jones and the Kingdom of the Crystal Skull in 2008.
The lovechild of Indy (Harrison Ford) and Marion Ravenwood (Karen Allen) was introduced in the last film. Allen made her return to the franchise since the first film, Raiders of the Lost Ark.
David Koepp, who wrote Crystal Skull and now the fifth Indiana Jones film, spoke to Entertainment Weekly. He didn’t offer much.
“Harrison plays Indiana Jones, that I can certainly say…and the Shia LaBeouf character is not in the film.”
Given the mixed reception, it’s not surprising Koepp and director Steven Spielberg decided to go a different route with the film. Originally, Mutt was likely going to play a bigger role in the franchise with Ford eventually retiring as Indy as a passing of the torch. A lot has happened since with Disney acquiring Lucasfilm in 2012 and Ford’s renewed interest in coming back to the franchises he helped make famous in Star Wars, Blade Runner, and now Indiana Jones for at least one last hurrah.
Keep in mind that Ford is 75 and he’s going to be delegating a lot more on stuntmen when there’s action. If there was some kind of successor, there are maybe two films left, tops.
Koepp says he and Spielberg are satisfied with his current screenplay and production could begin in the near future.
“We’re plugging away at it. In terms of when we would start, I think that’s up to Mr. Spielberg and Mr. Ford. [The plot will involve] some precious artifact that they’re all looking for [throughout the film]. I know we’ve got a script we’re mostly happy with. Work will be endless, of course, and ongoing, and Steven just finished shooting The Post …. If the stars align, hopefully it’ll be his next film.”
LaBeouf didn’t respond to EW’s request for comment, but in a 2010 interview with the Los Angeles Times, he told the paper he felt as if he “dropped the ball on the legacy that people loved and cherished” and that Ford was not happy with the film either. Ford later responded calling his costar a “f–g idiot” for his comments. That probably didn’t endear LaBeouf to his colleagues.
The sooner Spielberg and Koepp get it to production, the better since it’s not like Ford has another franchise to plug following Blade Runner 2049.
Steven Spielberg Face
mattkprovideo.com/2017/09/08/steven-spielberg-face/
Steven Spielberg Face After Effects and Flash
Mr Rogers Techno
mattkprovideo.com/2017/09/07/mr-rogers-techno/
Coolest Mister Rogers Neighborhood episode ever?
http://www.neighborhoodarchive.com/mrn/episodes/0068/index.html
Coolest Mr Rogers Neighborhood episode ever? An early techno / electronic music create shows up to teach Fred Rogers about getting down to a new sound.
Mister Rogers’ Neighborhood |
Episode 0068
Mister Rogers arrives with a collection of model cycles which he plays with on the floor. He describes the difference between a tricycle, a bicycle, and a unicycle. Picture Picture shows a film about people riding real cycles including a tandem cycle made for two people.
After the film, Mister Rogers sings “Everybody’s Fancy” before Mr. McFeely stops by and describes how he rides his delivery bicycle.
Mister Rogers is invited to “Miss Nelson and Bruce’s dance studio” to see a musical computer.
At the dance studio, Mister Rogers visits with Bruce Haack who demonstrates a synthesizer which allows him to create various sounds. Miss Nelson arrives with a group of young dance students who spin as they sing a song about wheels.
The children continue moving and singing to the various sounds of the synthesizer as they pretend to ride bicycles and pretend that they are cats.
Mr. McFeely finds Mister Rogers at the dance studio to tell him that there is a surprise for him back at the house. Upon returning to his house, Mister Rogers enters to find his cat, Blackberry, waiting for him inside.
https://en.wikipedia.org/wiki/Fred_Rogers
http://www.openculture.com/2014/05/mr-rogers-introduces-kids-to-experimental-electronic-music.html
While Haack’s Mr. Rogers appearance may not have seemed like much at the time, in hindsight this is a fascinating document of an artist who’s been called “The King of Techno” for his forward-looking sounds meeting the cutting edge in children’s programming. It’s a testament to how much the counterculture influenced early childhood education. Many of the progressive educational experiments of the sixties have since become historical curiosities, replaced by insipid corporate merchandising. What Haack and Nelson’s musical approach tells me is that we’d do well to revisit the educational climate of that day and take a few lessons from its freeform experimentation and openness. I’ll certainly be playing these records for my daughter.
Walters 80th Birthday Party Video
https://mattkprovideo.com/2017/09/06/birthday-video/
I was hired to make a souvenier video for Walters 80th Birthday Party.
Shot with a Canon DSLR and Canon Vixia G20.
Edited with Adobe Premiere and some Adobe After Effects.
It Came from Hollywood
It Came from Hollywood
mattkprovideo.com/2017/09/06/it-came-from-hollywood/
http://www.rogerebert.com/reviews/it-came-from-hollywood-1982
Here is a movie that could save you years of watching the Late Late Show; it’s like Creature Features died and went to heaven. “It Came from Hollywood” is a 90-minute guided tour through the worst parts of nearly 100 of the worst movies ever made, from “The Amazing Colossal Man” to “Zombies of the Stratosphere.” It turns “That’s Entertainment!” into “That’s Entertainment???” And now that I’ve finished with my cornball one-liners, let’s get on to the movie.
But “It Came from Hollywood” goes beyond the Medveds to encompass whole genres of awfulness. It uses montages to show us wave upon wave of flying saucers, tray upon tray of human brains, attack upon attack by savage beasts, and a sequence in which a series of utterly unconvincing giant insects stumble jerkily over cardboard cities.
My favorite scenes in the movie, however, are not the moments that are obviously awful, but those moments which are awful in spite of themselves; scenes in which the actors are really trying, but don’t have a chance. There is a pseudo-Busby Berkeley dance number, for example, in which several very badly rehearsed dancers get totally out of synch with each other and start jostling for position in a chorus line while inflatable bananas take over the background.
And then there’s a classic scene where a young engaged couple goes to see the doctor, and he greets them cheerfully, telling the woman there are no complications resulting from the birth of her baby and telling the man his case of V.D. cleared up fine. The man shouts at his intended: “You’ve had a baby?” She replies, “You’ve had one of those awful diseases?” He says, “One scandal at time.”
The movie has been assembled by Malcolm Leo and Andrew Solt, who have made a specialty of compilation films. Their credits include “Heroes of Rock and Roll” and the remarkable “This Is Elvis,” in which documentary footage and film and TV clips created an uncanny portrait of Elvis Presley’s rise and fall.
This time they organize their material into segments introduced by Dan Aykroyd, John Candy, Cheech and Chong and Gilda Radner –whose names are exploited in a very bad advertising campaign that for some reason chooses to obscure the fact that this is a film of highlights from bad films.
The hosts are all right in their introductory segments; Radner has a great moment barricading her door against gorillas, and Aykroyd turns up in Glen (or Glenda’s) white angora sweater. But the movie makes the annoying decision to let the hosts speak during the scenes from the bad movies, one-upping the original footage with wiseguy comments that should be left for the paying audience to make.
Something else bothers me: At times, I got the impression that the filmmakers were adding things to the original soundtracks to make them “funnier,” as when a hairy monster burps after eating a victim. Surely these movies are funny enough in themselves. Consider some of their titles: “Attack of the Killer Tomatoes,” “The Brain from Planet Areas,” “The Crawling Eye,” “Horror of Party Beach,” “I Married a Monster from Outer Space,” “Incredible Melting Man,” “Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies,” “Mars Needs Women,” “Slime People” and, of course, “Teenagers from Outer Space.”
“Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies,” “Mars Needs Women,” “Slime People” and, of course, “Teenagers from Outer Space.”
https://en.wikipedia.org/wiki/It_Came_from_Hollywood
It Came from Hollywood is a 1982 American comedy documentary film compiling clips from various B movies. Written by Dana Olsen and directed by Malcolm Leo and Andrew Solt, the film features wraparound segments and narration by several famous comedians, including Dan Aykroyd, John Candy, Gilda Radner, and Cheech and Chong. Sections of It Came from Hollywood focus on gorilla pictures, anti-marijuana films and the works of Ed Wood. The closing signature song was the doo wop hit “What’s Your Name” by Don and Juan.
List of films[edit]
- Sunny Side Up (1929)
- Maniac (1934)
- Wonder Bar (1934)
- The Lost City (1935)
- Reefer Madness (1936)
- Marihuana (1936)
- Perils of Nyoka (1942)
- Isle of Forgotten Sins (1943)
- Musical Movieland (1944)
- The Monster and the Ape (1945)
- The White Gorilla (1945)
- Blonde Savage (1947)
- Street Corner (1948)
- Daughter of the Jungle (1949)
- The Flying Saucer (1950)
- The Day the Earth Stood Still (1951)
- Zombies of the Stratosphere (1952)
- Glen or Glenda (1953)
- Robot Monster (1953)
- The Beast from 20,000 Fathoms (1953)
- The War of the Worlds (1953)
- Creature from the Black Lagoon (1954)
- Bride of the Monster (1955)
- The Violent Years (1956)
- Earth vs. the Flying Saucers (1956)
- Fire Maidens from Outer Space (1956)
- Runaway Daughters (1956)
- Shake, Rattle & Rock! (1956)
- Don’t Knock the Rock (1956)
- Rock Baby: Rock It (1957)
- The Brain from Planet Arous (1957)
- The Incredible Shrinking Man (1957)
- Dragstrip Girl (1957)
- The Deadly Mantis (1957)
- The Giant Claw (1957)
- Beginning of the End (1957)
- The Cyclops (1957)
- From Hell It Came (1957)
- The Amazing Colossal Man (1957)
- I Was a Teenage Frankenstein (1957)
- Teenage Monster (1958)
- The Bride and the Beast (1958)
- The Cool and the Crazy (1958)
- Attack of the Puppet People (1958)
- Attack of the 50 Foot Woman (1958)
- High School Confidential! (1958)
- High School Hellcats (1958)
- The Space Children (1958)
- Fiend Without a Face (1958)
- The Fly (1958)
- Curse of the Faceless Man (1958)
- The Party Crashers (1958)
- The Blob (1958)
- I Married a Monster from Outer Space (1958)
- Frankenstein’s Daughter (1958)
- Monster from Green Hell (1958)
- The Trollenberg Terror (1958)
- Missile to the Moon (1958)
- The Hideous Sun Demon (1959)
- Battle in Outer Space (1959)
- House on Haunted Hill (1959)
- Prince of Space (1959)
- Teenagers from Outer Space (1959)
- The Killer Shrews (1959)
- Plan 9 from Outer Space (1959)
- The Tingler (1959)
- First Man Into Space (1959)
- The Loves of Hercules (1960)
- The Hypnotic Eye (1960)
- Invasion of the Neptune Men (1961)
- Reptilicus (1961)
- Rocket Attack, U.S.A. (1961)
- Married Too Young (1962)
- The Brain That Wouldn’t Die (1962)
- Matango (1963)
- Slime People (1963)
- Evil Brain from Outer Space (1964)
- The Creeping Terror (1964)
- Atomic Rulers (1964)
- The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies (1964)
- The Horror of Party Beach (1964)
- Frankenstein Meets the Spacemonster (1965)
- Bat Men of Africa (1966)
- Mars Needs Women (1967)
- The Weird World of LSD (1967)
- The X from Outer Space (1967)
- Yongary, Monster from the Deep (1967)
- Son of Godzilla (1967)
- Octaman (1971)
- The Thing with Two Heads (1972)
- Black Belt Jones (1974)
- Frankenstein and the Monster from Hell (1974)
- A*P*E (1976)
- The Incredible Melting Man (1977)
- Attack of the Killer Tomatoes! (1978)
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