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I love data science. You get a glimpse into this fascinating field whenever you dive into one of those coolly designed infographics where they’ve correlated obscurely related statistics together to reveal something new or “hidden” about a given subject. Cinema has lots of rich data in it and Stephen Follows has been mining it to create some brilliant analysis of the film industry.
Stephen posts at the top of his page: “Each week I look at a different topic around the film industry, focusing on the data and statistics which reveal what’s going on.”
Here’s a link to his site full of articles:
STEPHEN FOLLOWS Film Data and Education
“Boppin’ At The Glue Factory” is now available on Amazon in HD-Surround Sound and with French subtitles if you so desire 🙂
This episode contains a rare look at Abby and Brittany Hensel, dicephalus conjoined twins, having two heads and sharing one body.
Abby: “We wanted to make this documentary so people wouldn’t always have to stare and take pictures because we don’t like it when they take pictures”.
Dicephalus (Two Headed) Conjoined Twins Abigail and Brittany Hensel are about to turn sixteen. They’ve shared every single moment of their lives, but it wasn’t a matter of choice. These twin sisters are joined for life.
Abby and Brittany were born with just one body between them. The only known surviving dicephalus conjoined twins. They’ve spent their lives in a small close-knit community, completely protected from prying eyes.
The girls live on a farm in Minnesota with their younger brother and sister, Coty and Morgan, and their mother and father, Patty and Mike Hensel. As they reach sixteen, on the brink of womanhood, they decide to show the world what it’s really like to be joined for life.
Every moment of their lives requires the twins to cooperate with each other, and they appear to be totally in sync, but that doesn’t mean they always agree. Brittany describes Abby as bossy and outspoken. Abby describes Brittany as having been shy but becoming more confident, she likes to take her time with things.
The Whitest Kids U’ Know, returns to IFC this spring with ten all-new 30-minute episodes premiering on Friday, April 15 at 10:30/9:30c.
I found this link about the 10 best cover albums on Flavorwire. I though about how often people complain about movie remakes. Some people get bent out of shape about remakes of classic films, but rarely, if ever, do you hear people complain about cover songs. You might hear the original song and the cover version being compared — eg. “the guitar work on Madonna’s original of “Burning Up” shreds over Greg Ginns guitar playing on the Ciccone Youth version” — but with film remake discussion the tone can sound as if vandals are desecrating a holy shrine.
It’d be interesting to see cover versions of films – we all know the storyline, but to see how it would be interpreted by a different creative team or perhaps in another culture. In a sense this is the essence of a remake – it’s the cover version of the original film being played by a different “band” – a better, lesser, or just different band. What does this tell us about the story they are both based on? First of all that it’s compelling enough to do a new version of it. Isn’t this in a sense what’s also happening when a book is turned into a film. It may not be as clear a lineage since the format of media is making a huge leap, but the essential story and characters are the same.
I was really surprised when I saw the David Fincher remake of “The Girl With The Dragon Tattoo” because it was not nearly as violent and grunge-y as I’d expected having seen the original film first. I didn’t really know what to expect when I saw the original version as I knew nothing about the film, the book, or even what genre it was when I went and I was completely surprised that it was in fact a violent film. But the Fincher version seemed really glossy from the opening credits and this somehow made the treatment less violent and less gory. Was it actually less graphic? I’d need to revisit the original to really compare. But Fincher is an accomplished enough director with such a distinct style and vision. It’s not as striking a cover as say DEVO covering “(I Can’t Get No) Satisfaction” – they’ve done it in their own distinct style, but stayed very true to the emotion and theme of the song while uncovering an great new take on frustration in their version – a darkly comic twist which serves to enhance it well. Is it better? I wouldn’t say that because the two are so different and the one would not exist without the other. The DEVO version is enhanced by being able to build upon and uncover more of the original song. It wouldn’t be the same if you hadn’t heard the original Rolling Stones version.
What if filmmakers embraced the cover film?
How about a movie cover of REPO MAN by P.T. Anderson, a cover of SWEETIE by Todd Haynes, ERASERHEAD by Miranda July, ONE FLEW OVER THE CUCKOO’S NEST by Andrea Arnold, ALL THAT JAZZ by Nicolaus Refn Winding, “Kramer v. Kramer” by Asghar Farhadi, TAXI DRIVER by Gaspar Noe, SWEET SMELL OF SUCCESS by Michelle MacLaren, and a cover of DO THE RIGHT THING by Lee Daniels?
What are some movies you’d like to see covered and who’d direct?