The Screengrab

One of the nice things about living in a big city is that there's always a lot of big corporations with money to throw around.  If you're an aspiring filmmaker, they might just throw some at you!  Such is the case with the Silent Film Festival, which, despite the name, is actually a competition.

Here's how it works:   You make a film (silent, but it can be accompanied by live music) under three minutes long.  It revolves around one of these themes:

-  What is New York?

-  What's your favorite emotion?

-  What emotion is New York?

-  Your favorite ghost story 

No explicity nudity or violence; otherwise, go nuts.  Submit your work on a DVD in .mpeg or QuickTime format by August 11th, along with your full name, phone number, e-mail, mailing address, and a description of your fim, category, and inspiration to:

ATTN:  Silent Film Festival

60 E. 42nd Street Ste. #659; NY, NY  10165 

The ten best films will be displayed in a prominent place in the city by the competition's sponsor, a major Manhattan real estate developer.  In addition to the free publicity, the sponsors will also pay your way into two major film festivals (your choice) you'd like to submit the film to.  You can contact the festival with any questions.

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Tasha Robinson at the AV Club brings us a brief but very engaging interview with Andrew Stanton, longtime studio pro at Pixar and the director of WALL-E.  In a wide-ranging discussion, he talks about the lunch meeting that produced a decade of the best animated films in history, the development of Pixar from a handful of like-minded creatives to a massive Hollywood studio employing hundreds of people, and his unconventional approach to writing a script in which the main character has no voice.  "I remember reading the script for Alien," he recalls; "It was written by Dan O'Bannon, and he had this amazing format where he didn't use a regular paragraph of description.  He would do little four-by-eight word descriptions and then sort of left-justify it and make it about four lines each, little blocks, so it almost looked like haikus.  It would create this rhythm in the readers where you would appreciate these silent visual moments as much as you would the dialogue on the page.  It really set you into the rhythm and mindset of what it would be like to watch the finished film.  I was really inspired by that, so I used that format for WALL-E."  

One of the fascinating things about the interview is the discussion of how the most high-tech movie studio in history uses some positively primitive methods to actually make their movies.  Starting with the standard lament that computers will always take up all the time you allocate them to solve a problem ("Once you've got more memory, you just want to do more with it.  And you end up feeling it takes just as long to do now the 16 things in five minutes instead of the one thing you used to do in five minutes"), Stanton notes that Pixar always views its films as storytelling challenges, not technical ones (how do you make a cool movie about monsters, as opposed to how do you solve the fur problem in CGI).  He also notes that, with WALL-E, they were attempting to tell a story almost entirely visually, and so looked back -- way back -- for cues:  forsaking Chuck Jones' Warner Brothers cartoons as overly familiar to geeks like themselves, they instead prepared for each day's work by watching a Buster Keaton or Harold Lloyd silent short every day at lunch for a year and a half.

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If you didn’t wake up at 5:00 EST this morning and turn on ESPN2, you may not be aware that baseball season has begun. (The Oakland A’s and Boston Red Sox played their season opener in Japan’s Tokyo Dome, which accounts for the rather unorthodox start time.) This will be the final season for Yankee Stadium (a new version of same is scheduled to open across the street in 2009), so it only seems appropriate to commemorate Opening Day with a look at the cinematic history of the House That Ruth Built.

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