A place for stop-motion animation in 2016?

Charlie Kaufman, on the animation technique in his new film, Anomalisa {cartoon brew}:

As we move into an increasingly virtual society, I find solace and comfort in the hands-on, human imperfection of the stop motion process. It is to me both heartbreaking and beautiful. The imperfections of the humans who create these works make it so. And, oddly perhaps, because of this, these puppets make me feel more connected to those sweet aspects of us as human beings.

Friday Link List

1. Edward Tufte Wants You to See Better {npr}.

Fascinating interview with the founder of infographics, Edward Tufte.

Most of my work has been secretly about trying to make people smarter. The – and it means smart both in terms of science and seeing and information and art. The science and art, at least at a high level, have in common intense seeing, bright-eyed observing and deep curiosity. And I’m starting to now surface these ideas that have been lurking in my work for so long in my project “The Thinking Eye,” which will be a book-movie. It’s going so slowly that I think books and movies will be the same by the time I get it done.

 

2. How did a newbie make an unapproved film in Disney parks? {la times}.

About three years ago, Randy Moore, a struggling screenwriter living in Burbank, had an out-there idea: What if he took a tiny camera and, without asking permission, began shooting a narrative movie at Disney theme parks?

…The result of Moore’s quixotic dream is “Escape from Tomorrow,” a Surrealist, genre-defying black-and-white film that was shown for the first time at the Sundance Film Festival on Friday night and that was primarily shot across the vast expanses of Disney theme parks in Orlando and Anaheim. There is Buzz Lightyear Space Ranger Spin and Space Mountain, Tiki Room and teacups, princesses and a Main Street parade. At one point, Epcot Center blows up.

 

3. The Amazings {via swissmiss}.

This looks like a neat idea:

We offer fun, friendly, informal, classes and courses for you to learn everything from feltmaking to joinery to journalism — directly from people with lifetime knowhow.

Heads Up 56 Up

I really want to see this.

From On the Media:

In 1964, a documentary called Seven Up! sought to illustrate Britain’s entrenched class system through the stories of 14 seven-year-olds. Michael Apted, an assistant on that film crew, ended up expanding the project into a longitudinal series: every seven years, he has directed a new documentary that revisits the characters as they grow. One of the most memorable characters from the series is Tony Walker, a London cab driver. Brooke speaks with Michael and Tony about the 2012 installment of the series, 56 Up.

And here’s the trailer:

The Clock {film}

Christian Marclay’s “The Clock” {new yorker; no subscription required} is the world’s most ambitious mashup film. For each minute of film, a clip is taken from an existing film that shows a clock displaying that corresponding time.

In other words, after you’ve been watching the film for 36 minutes, the film is showing a minute-long clip from a movie that shows a physical clock at 12:36am. And so on, and so on, until the time reaches 11:59pm and you’ve been watching clocks for a full 24 hours, drawing from over 10,000 movie clips.

And two excerpts from the article:

And there are, of course, clocks galore. This includes clocks of the wall, mantel, grandfather and bedside-table variety; clocks on steeples, towers, dashboards and bombs; and clocks in train stations, shop windows and spaceships as well as the occasional hourglass and sundial. And then there are watches, which are smashed, pawned, handed down from father to son, and used as weapons. (All the James Bonds are here.) They slide down the wrists of murder victims, turn up at crime scenes and even provide forensic evidence.

Each afternoon, Marclay was presented fresh clips: the “catch of the day.” At first, he was merely collecting scattered files, but eventually he had enough to forge “hinges” between them. The more hinges he came up with, the more inventive they got. At 10:30 P.M., Marclay realized, a shot of David Strathairn, delivering the news as Edward R. Murrow in “Good Night, and Good Luck,” could slide into Dustin Hoffman, in “Tootsie,” watching television. To create continuity, the Murrow dialogue was extended into the “Tootsie” clip, at muffled volume.

And here’s a clip:

It played in New York, and will soon return, to the Lincoln Center this summer.