charles pappas

Video.

Google shows that on March 3rd an Asian man in Flushing NY been wearing his was seen passed out on a sidewalk while wearing a mask and on April 24 a man crashed his SUV into a pole into a pole and told police he had driving for hours while wearing his N95 mask in the vehicle and must have passed out. The risk appears to be on par with being struck by lightning. And the mask risk, such as it is, is additive, not multiplicative like CV-19 is, ie, one person passing out while wearing a mask is not going to cause 20 people passing out a week later, which causes 8,000 to pass out the next week and 200,000 three weeks later and millions thereafter, to pick numbers randomly but indicative of the CV-19 spread.

https://vitals.lifehacker.com/do-masks-make-you-breathe-too-much-carbon-dioxide-1843421831 "Can a mask, cloth or otherwise, trap enough carbon dioxide to cause drowsiness or other symptoms? Fortunately, the answer is no. Carbon dioxide is a tiny molecule, far smaller than the holes in any of these types of masks. Remember, masks stop droplets of saliva and mucus, but they still allow air to flow. If you were wearing a plastic bag, that would be a problem, but that’s why masks are made of porous materials. The carbon dioxide can flow through them just fine. Masks can feel stuffy because your own respiratory droplets make the air around your face feel moist, but you’re not slowly poisoning yourself. As doctor and professor Michelle Cohen points out on Twitter, the study that’s sometimes cited isn’t really relevant. It tested a very different type of mask than what we’re all wearing, and while it found that carbon dioxide levels increased somewhat, it also found that the subjects did not have any symptoms of hypercapnia." "...Again, this is a theory that doesn’t pass a sniff test. If masks really did make people feel drowsy and confused, medical professionals would walk into work, strap on their masks, and quickly become unable to do their jobs. Masks never would have become standard equipment if this were true. How could a surgeon operate for hours if they were suffering from carbon dioxide toxicity the whole time?"

I see, however, I would not include "The Man Who Wasn't There" as it was originated on color negative and printed on b & w. I'll throw in one simply because it was anamorphic: "Suture".

I get the joke about the man who wasn't there, but nashville went over my head

A whole lot of life left in those strips of celluloid. Btw, the anyone know offhand what that "light - ???" system from ??? Camera is that was thanked in the end credits? I spent a few minutes on google and didn't find it.

Horror film Jennifer’s Body bombed 10 years ago; now it’s a cult classic Bad "sexy teen slasher" marketing buried this multi-layered tale of toxic female friendship. JENNIFER OUELLETTE - 9/21/2019, 8:10 AM https://arstechnica.com/gaming/2019/09/a-misunderstood-horror-film-turns-10-we-call-it-a-nerds-frightful-delight/

With this The Long Goodbye thread persisting for so long, i can' help but to gratuitously throw in that I consider it to be one of the best films ever made in the history of making films. It is jam-packed with quality.

The Slow Death of Hollywood https://mattstoller.substack.com/p/the-slow-death-of-hollywood?token=eyJ1c2VyX2lkIjoyMDEwNDcsInBvc3RfaWQiOjgxODYyLCJfIjoiSHdIQXciLCJpYXQiOjE1NjI3MDA1NDgsImV4cCI6MTU2MjcwNDE0OCwiaXNzIjoicHViLTExNTI0Iiwic3ViIjoicG9zdC1yZWFjdGlvbiJ9.b8NC4YJVESPkFZQRoJZ5b8QDnjb-6WFM7kRIsx-Skng i.e., Hollywood labor, not capital. Somewhat off-topic, but a wider view.

This thread, including the links, has turned out to be an extremely valuable one (pun intended) and perhaps it will be continued and more light shed on film finances. As regards the tax credits, apparently huge percentages of the cost of films could be deducted from an investors personal income tax, taxes due to income from other jobs or businesses completely unrelated to the film. Clearly, the higher ones income from their primary occupation, the more the movie tax benefit would benefit them. (The "starving artist" would see very little benefit.) No wonder this scheme was ripe for corruption.

I have a question about composition after viewing the above still. (The question does not relate to T. Win's set-up as he used multi-cameras and I don't know where any of the cameras were.) Let's say I had a single camera and wanted it pointed as shown in the above photo and let's say the actors were in their normal "starting posture" in the above photo, ie, they would bob back and forth but always return to the "starting posture." Would I want to move the table (and the and the background table) either way a few inches so that the actors faces were in the door window panes and not in the wood mullions? It seems to me that I would want to move the table slightly, but I can see a case for not doing so, and wonder if there are authoritative opinions or answers?

In theory, theory and practice should be the same. In practice, no.

Your film strikes me as an individualistic "tone poem," of a film made by someone wanting to exercise and express his creativity and technical aptitude. The film is in a sense beyond criticism, unless it shows glaring technical flaws or it is so long and/or self indulgent that the viewer, however sympathetic and open-minded he is, is turned off. Your film is perfectly fine technically and short and personable enough to keep at least me turned on, so no, there can be no criticism Now, if the film had an obvious intent, such as to convey a conventional narrative plot, or you had included a statement of purpose like that you wanted to show all the hues of blue or to increase the public's awareness of dolphins, then the film could be approached on those terms.

I would not say that I "made," a movie unless a couple of criteria were met. I would have had to have directed the film or been the creative ramrod behind it, such as producer/line producer, or producer/screenwriter. Secondly, the film preferably must have had some sort of public or quasi-public exhibition, or, less preferably, be accessible on-line to the public and the public would be able to locate the film on-line without previously having known it existed (Amazon Prime or Netflix as opposed to throwing it up on You-Tube, unless the filmmaker had an actively promoted You-Tube channel.) Exceptions made if a Hollywood studio sits on your film. By those criteria I have two, maybe three, films.

Thank you Evan and let me say that I think you guys as a team of craftsmen (actors, director, DP, lighting, sound, editing, etc.) have the techniques down well enough that your success in the conventional narrative feature film sense, if that is a goal of yours, will depend on the stories you choose to tell and how well you tell them. Technically, I think your team is ready.

Again, this was meant as a compliment not a denigration. I agree that the lightning was appropriate to the subject matter and environment in that it appeared to be hard and aimed directly at the set of actors who were portraying cruel murderers giving each other the "third degree," interrogation. I only call it controversial because on the film sets I've seen lit every light lamp is bounced off a wall, a ceiling, a beadboard or foil or a reflector unless it is aimed directly through scads of gel or scrim or is a tiny eyelight. Of course I exaggerate for effect but I do suspect many DP's would be on the verge of a heart attack if they walked on a set and saw a bunch of lights aimed directly at a set, even if they knew the subject matter and environment and the intent of the director. Having said all that, I could be wrong about what I remarked about DP's finding it "controversial," (it is based on very limited experience) and more significantly I could be wrong that you used direct lighting - it could all have been bounced for all I know.

Related to maypoles and May Day, The Wicker Man with be playing at the Austin Film Society 4/26 to 5/1.

I was writing the long clarification below but Mark Dunn put it more succinctly, and it was definitely a compliment and not sarcasm: The first comment was meant to be jokey, because it seems that most filmmakers, after listing their crew, and in the case of major projects, listing hundreds of crew members, also feel obligated to add a "Thanks," section to the credits which would typically list from 15-20 people to sometimes several hundred thanked souls. (Additionally, there are sometimes also "Special Thanks," sections in the credits.) In the case of your project, you could have thanked your parents, siblings, wives/girlfriends, people who looked at the script and commented, people who looked at the project at various stages of completion and commented, the providers of the cards, cigarettes, bottles, cups and glasses, etc., providers of the table and chairs, other people who gave you moral support and encouragement for this project or in general, providers of the space you shot in ...

First of all, thanks for not thanking anyone in the end credits. In my opinion, the acting, editing and direction were fine. Good sound. The lighting might be considered controversial; I liked the apparent fact that you weren't afraid to point a light at someone but others might find it too bright and shiny. I found the script and setting (I assume it took place in Hell) to be a bit on the cliche-y side, with nothing striking me as especially profound (with one exception, see below), but the script held interest, gave each actor their time and did its job. I much appreciated the segment in red - its was short and sweet, didn't beat the viewer over the head and once it was over you let it be and didn't mindlessly repeat that motif. Excellent, and also elevated many many notches for viewablilty due to the use of 16mm. Thanks.

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Yes, thanks, now i remember pic-sync, although I wouldn't have been sure if it was 16 or 35, but it is 35. One now on sale on ebay, see below. Way too much for me, would have been willing to spend a couple $100 or so on a 35mm type moviescope if such were available. If anyone can thing of a work-around let me know. 35MM ACMADE FILM EDITING EQUIPMENT EDITING MACHINE PIC SYNC PROJECTOR MOVIE ARRI Condition: -- Time left: Time left:5d 20h Wednesday, 6:46PM Price: GBP 2,250.00 Approximately US $2,960.78 Buy It Now-

Why was there never the equivalent of a 35mm Moviescope viewer? (Or was there?) It is frustrating to have rewinds, splicers and gang syncs, but no viewer option. I can imagine that the feeling was that any parties shooting 35mm would have the resources to at least have an upright Movieola, was that it. More importantly, are there any work-arounds? Thanks.

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I know this would never go over due to the massive egos involved, but I'm not trolling. Why not just announce the winners and have them stand in place, i. e., at their seats, bring a mic over to them and allow each 15 to 20 seconds to make a statement. The "Academy," could suggest guidelines for the statement which could basically consist of A.) give a brief anecdote or shed a little more light on the winning project and B.) don't thank anyone. That way the audience could see the winner's costumes and maybe achieve a little more connection to the industry, but the show speeds up. Keep all the clips and songs. Maybe the Best Picture winner people could all come on stage like they do now anyway and the producer make a slightly longer speech.