The Frame

More stately mansions.



May 31

Guillermo del Toro On The Future of Narrative

  • Wired: It sounds like you're talking about an entirely new form of storytelling.
  • del Toro: Think about the way oral tradition became written word—how what we know about Achilles was written many, many years after it made its way around the world with different names and different types of heroes. That can happen when you allow content to keep propagating itself through different kinds of platforms and engines—when you permit it to be retold with a promiscuous form of mythology. You see it when people create their own avatars in games and transfigure their game worlds.
  • Wired: How is that interactivity going to change Hollywood—and the way directors like you make movies?
  • del Toro: [Legendary B-movie producer] Samuel Arkoff once told me there are only 10 great stories. That's where the engine and promiscuity come in. Hollywood thinks art is like Latin in the Middle Ages—only a few should know it, only a few should speak it. I don't think so.
  • Wired: So how will the public story engine tell those same 10 stories differently?
  • del Toro: We are used to thinking of stories in a linear way—act one, act two, act three. We're still on the Aristotelian model. What the digital approach allows you to do is take a tangential and nonlinear model and use it to expand the world. For example: If you're following Leo Bloom from Ulysses on a certain day and he crosses a street, you can abandon him and follow someone else.
  • Wired: You're describing a model that's more like a videogame. Is the merger of movies and games the first step?
  • del Toro: Unfortunately, I've found in my videogame experience that the big companies are just as conservative as the studios. I was disappointed with the first Hellboy game. I'm very impressed with the sandbox of Grand Theft Auto. You can get lost in that world. But we're using it just to shoot people and run over old ladies. We could be doing so much more.
  • Wired: But these nonlinear, hybrid storytelling forms involve gaming tech, which could trap them in a geek ghetto. What's going to bring down that wall?
  • del Toro: Go back a couple of decades to the birth of the graphic novel—I think we can pinpoint the big bang to Will Eisner's A Contract With God. Today, we have very worthy people doing literary comics. I think the same thing will happen on the Internet-gaming side. In the next 10 years, there will be an earthshaking Citizen Kane of games.
  • (via: Wired)


May 18

Books that should not be movies. (via: HTML Giant: Blog Archive » God damn it: ‘The Road’ trailer)

From the looks of the trailer, The Road movie is going to be horrible. Looks like they took out all the ambiguity—which I thought was the most interesting part about the book. So why does this movie look more like Armageddon than anything McCarthy has written? Probably because the producer is trying to sell tickets. I guess the Coen brothers—and David Lynch—are the only directors who can sell ambiguity. I’m dreading the adaptation of Blood Meridian.



Apr 2
METROPOLIS! (via mrcookieface:butterflyeffects)

METROPOLIS! (via mrcookieface:butterflyeffects)



Mar 25
Where the Where the Wild Things Are trailer is: on Tumblr!

Where the Where the Wild Things Are trailer is: on Tumblr!



Mar 24
(via: nevver)

(via: nevver)



Dec 19
It’s a Wonderful Life is a terrifying, asphyxiating story about growing up and relinquishing your dreams, of seeing your father driven to the grave before his time, of living among bitter, small-minded people. It is a story of being trapped, of compromising, of watching others move ahead and away, of becoming so filled with rage that you verbally abuse your children, their teacher and your oppressively perfect wife. It is also a nightmare account of an endless home renovation.”
Wendell Jamieson (NYTimes.com) brings the cynicism.


Nov 6
“The subject is very serious,” Kaufman continues. “It’s ever-present and I think it’s obviously everybody’s life and everybody’s experience: Everybody deals with the continuum of getting older and death and the regret that comes with more and more life passing by….It’s a person’s life, and it takes it to the end, and all that comes with that. [Synecdoche, New York] doesn’t have a happy ending, but I don’t know if it has a sad ending, either. It’s a curious ending, and there are things to think about,and there are things that happen toward the end of the movie that are odd and, I think, raise questions. Questions about what it means to be an individual, or what it means to be old or what it means to lose yourself or find a connection or all those things that are part of a person’s life. You don’t necessarily have to come out of it feeling devastated It wasn’t my intention. I really had no intention at all.”
Dollar, Steve. “Charlie Kaufman Adapts.” Paste Magazine. Nov 08.
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