It was, for years the most recurrent tagline to attack a movie: “It looks like a video clip. The difficult part of their purpose (to accompany and emphasize music, hitting the viewer, explore and reinvent images and technologies to differentiate and be memorable) was the sin of audiovisual thus born in the seventies, darkfall gold and corrected for Thriller universalized by MTV whose success has polluted the movies.
Early professional photographer, the young Spike Jonze (born in 1969 in Rockville, USA) highlighted clips from other filmmakers. His documentaries on skateboarding allowed him to roll in 1994, Sabotage, a video where a mustachioed Beastie Boys were the ideal vehicle to honor Seventies television series and at the same time, reflect the film modernez tarantinesca that time.
A Beastie Boys Bjork succeeded him (1995, It’s, Oh, So Quiet), Chemical Brothers (1996, Elektro) and a long list (REM, Daft Punk, Fatboy Slim …) musicians concerned not only about his music but also his image. What distinguished Jonze was not only an obvious visual flair but the discipline of darkfall items, capable of transmitting uniformity to their works (though would last five minutes) and refer to Lynch, Fleming, or Buñuel. Eager for new ways, Hollywood was quick to try to recruit him.
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Comment by sunshineblog — December 27, 2009 @ 8:47 pm
Lucy, young man.
Comment by laugh day — December 27, 2009 @ 8:49 pm