Wright on Film

On Jewish Humor

Woody Allen's screen persona is a caricature of a petrified New York Jew, but his comic identity is far more interesting and nuanced than we have come to believe.

“I Knew He Would Be Gone”

The Shape -- otherwise known as Michael Myers -- avoids death to fulfill the key function of the horror genre, which is its lack of closure.

Crisis in Criticism

A closer look a the documentary Side By Side, and an examination of how filmmakers are dealing with the transition to digital shooting, editing, and exhibition systems.

In 1991, Spielberg was asked to provide an image from one of his films that typified his visual style. Spielberg chose the shot in Close Encounters where little Barry stands in the doorway between his home and that "beautiful but awful" outer light.

The Hero Complex

"It's all a big experiment."

This was Hans Zimmer's summation of his work on Christopher Nolan's summer blockbuster Inception, which is fast becoming one of the composer's more commercially popular scores.

Rules and Anarchy

I had an opportunity to see Apocalypse Now Redux and hear Walter Murch speak about his sound and picture duties on the film.

On the Record: The Sound of Avatar

A closer look at the sound of Avatar.

Snorricam

If there is one stylistic technique that has reached a point of saturation in Hollywood, then it must surely be the Snorricam, otherwise known as the "reverse steadicam" or the "chestcam."

What Might Have Been

When we consider a filmmaker's output we never consider the films that were almost made. Would it be a stretch to say that we could learn a lot about the creative process if we could study these almost movies?

Liberation through Limitation

Artists in most mediums work within some set of boundaries. For many sound professionals, constraints offer creative flexibility -- however strange that sounds. But limitations in the form of norms and conventions can be profoundly liberating.

Hear it in 3-D!

Filmmakers, including sound professionals, have always had to reconcile the spectacular nature of technology with the need for narrative invisibility. This is especially the case with sound mixing, where their art is based on the fine balance of story comprehension and environmental immersion.

Keep Circulating the Tapes — The Best of MST3K

With nearly two hundreds episodes to its credit, dozens of classic lines and memorable moments, and some perfectly roasted films, Wright on Film presents its Top Ten Favorite Moments from Mystery Science Theater 3000.

A Mann Among Us

Michael Mann in Close Up.

Hearing Beyond Words

Ask yourself why you feel almost out of breath after listening to a dramatic film score. You haven't moved in your seat, but you have been moved by the rhythmic and expressive nature of film music.

Deja Vu All Over Again

When discussing the recent 3-D trend, I think about what Francis Ford Coppola once said, "People ask me if all this technology will make the movie any better. Well, no, technology doesn't make art any better. Art depends on luck and talent. But technology changes art."

To avoid fainting, keep repeating: “It’s only a sound effect.”

On the importance of sound in horror.

Looking Through CG Eyes

How digital visual effects ultimately undermine the narrative fabric and emotional structure of David Fincher's otherwise very fine The Curious Case of Benjamin Button.

Film and Variations: On Multiple Versions

Examining the phenomenon of Director's Cuts, Restorations, and Remastered Versions of films, including the original Star Wars trilogy and E.T.: The Extra Terrestrial.

“From here on in, absolute silence.”

As filmmakers and audiences continue to complain that modern films are too loud, relying on heavy doses of ear-splitting passages to convey the intensity of an action sequence or dramatic moment, it's worth noting some impressive forays into sonic silences.

The Slow Burn

Hans Zimmer's contribution to modern film scoring is extensive as it is expansive. With this post I'd like to discuss the constitutive elements of the Zimmer "sound" and how it works with the image.

Studio Logos by Association

A closer look at pre-credit studio logos.

The Voice Amidst the Noise

The remarkable thing about The Dark Knight is the amount of production sound that made it into the final mix, which nearly saved Heath Ledger's vocal performance.

On IMAX and Hollywood

How Chris Nolan shot The Dark Knight with 70mm "true" IMAX.

Cutting for Clarity

Spielberg's technical skill as a director has always been closely linked to the tenets of classical Hollywood style.

Death of the Title Sequence

The main title sequence has all but disappeared from contemporary films.

The Scream Heard ‘Round the World

A brief history of the Wilhelm Scream.

Nov 26

On Jewish Humor

Woody Allen's screen persona is a caricature of a petrified New York Jew, but his comic identity is far more interesting and nuanced than we have come to believe.

Oct 15

“I Knew He Would Be Gone”

The Shape -- otherwise known as Michael Myers -- avoids death to fulfill the key function of the horror genre, which is its lack of closure.

Sep 29

Crisis in Criticism

A closer look a the documentary Side By Side, and an examination of how filmmakers are dealing with the transition to digital shooting, editing, and exhibition systems.

Jul 13

1 Comment

Spielberg’s Suburban Animism

Nov 20

The Hero Complex

"It's all a big experiment."

This was Hans Zimmer's summation of his work on Christopher Nolan's summer blockbuster Inception, which is fast becoming one of the composer's more commercially popular scores.

Oct 28