CineSavant poaches on Greenbriar Picture Shows territory with a quick slideshow of photos from New Yawk, New Yawk, where once upon a time, any old film release might get a gigantic ‘your name in lights’ opening on the Great White Way.
This photo idea won’t be a trend at CineSavant, but it is a welcome break. It came about because long-time correspondent ‘B’ wanted to assure me that some movies I had described as marginal, actually opened big in New York. To prove to me that the Louis De Rochemont social issue movie Lost Boundaries wasn’t a micro-release seen by nearly nobody (which seems to be the fate of so many pictures today), “B” sent along this color photo of the gigantic electric billboard at the Astor Theater, presumably in early July of 1949.
The Astor Theater
“B” wrote, “Back in the day — when ‘The Great White Way’ was...
This photo idea won’t be a trend at CineSavant, but it is a welcome break. It came about because long-time correspondent ‘B’ wanted to assure me that some movies I had described as marginal, actually opened big in New York. To prove to me that the Louis De Rochemont social issue movie Lost Boundaries wasn’t a micro-release seen by nearly nobody (which seems to be the fate of so many pictures today), “B” sent along this color photo of the gigantic electric billboard at the Astor Theater, presumably in early July of 1949.
The Astor Theater
“B” wrote, “Back in the day — when ‘The Great White Way’ was...
- 7/21/2018
- by Glenn Erickson
- Trailers from Hell
No matter how much the contenders for this year’s Emmy for main title design jam-packed their sequences with imagery subtle and sometimes not-so-subtle foreshadowing, it seems there was always room for more.
Designer-director Kyle Cooper assembled an edit of the nightmarish title sequence for FX’s “American Horror Story: Cult” that had everything from a dead dog and bugs to people wearing Donald Trump and Hillary Clinton masks and all manner of creepy clowns.
Cooper didn’t have much of a blueprint going in. He just knew the series focused on a woman whose phobias were triggered by the 2016 election. “I’m just trying to have these nutty shoots with a relatively low budget and figuring out what I can do in the time I have,” says Cooper.
Design director Nic Benns of design house Momoco had a bit more to go on before he set out to craft...
Designer-director Kyle Cooper assembled an edit of the nightmarish title sequence for FX’s “American Horror Story: Cult” that had everything from a dead dog and bugs to people wearing Donald Trump and Hillary Clinton masks and all manner of creepy clowns.
Cooper didn’t have much of a blueprint going in. He just knew the series focused on a woman whose phobias were triggered by the 2016 election. “I’m just trying to have these nutty shoots with a relatively low budget and figuring out what I can do in the time I have,” says Cooper.
Design director Nic Benns of design house Momoco had a bit more to go on before he set out to craft...
- 6/1/2018
- by Todd Longwell
- Variety Film + TV
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