As part of the viral campaign for The Girl With the Dragon Tattoo Sony have released an ingenious recreation of a 1990s TV show.
It has never ceased to amaze me how badly big budget movies have traditionally executed on screen news graphics (e.g. that ‘news report’ during climax of Spiderman 3).
But David Fincher isn’t the kind of director to allow sloppy visuals into his movies.
Even if he just oversaw it, his noted perfectionism and knowledge of various video formats may have influenced the final result, due to his extensive work in commercials and music videos since the 1980s.
So perhaps that was why this fantastic recreation of Hard Copy appeared on YouTube recently:
Those who have read the book, or seen the Swedish film, will note how events from the plot are woven into the news segment.
But check out the audio and visual fidelity to the original show.
It appears the look they were going for was a VHS copy recorded to TV, transferred to a computer and then uploaded to YouTube – note the tracking lines and period commercials.
Digital editing programs now it easier to recreate this older look but it is still an impressive feat, along with some (possible) Easter eggs for the eagle-eyed.
If you want to compare it with the actual show, check out this actual clip from September 1989:
If you don’t remember it, Hard Copy was a US tabloid news show that ran from 1989 to 1999.
Like a sleazy tabloid cousin of 60 Minutes, it wasn’t afraid of sneaky tactics and attracted controversy due its airing of violent material.
In short, a perfect fit for the dark world of Steig Larsson‘s book.
Note that the channel is called Mouth Taped Shut, which is also the blog which has been hosting various production photos and viral tidbits.
Although the film’s relentless focus on death turned off dweeby critics, Bardem’s acting will be remembered for years to come.
Christopher Nolanfor Writing and DirectingInception: The enormous commercial success of Nolan’s career has strangely obscured his very real creative accomplishments. Fashionable contrarians and elederly members of the Academy were turned off by the gorgeous labyrinth that was Inception, mainly because it was ‘too loud’ or ‘too clever for its own good’.
The fact that Nolan (as director) and his veteran editor Lee Smith were snubbed still hints that some Academy members don’t get his films. But for a generation of filmmakers it will be discussed, analysed and appreciated for years to come.
Angus Wall and Kirk Baxterfor editingThe Social Network: One of the crucial aspects of Fincher’s drama that makes it work is the phenomenal edit job by Angus Wall and Kirk Baxter.
It might take a couple of viewings to fully appreciate, but the criss-crossing timelines and overall construction of sequences is masterful. Some Academy voters might not have got the film on first viewing but repeated viewings highlight the dazzling, but often understated, work that went into it.
Roger Deakins’cinematography forTrue Grit: Although already something of a legend for his amazing body of work, Deakins managed capture the haunting beauty of the west in True Grit whilst providing some indelible images.
Many people think it is his time to be awarded an Oscar and who would begrudge him a statuette this year?
The Visual Effects in Inception: The team at British SFX house Double Negative who worked on Nolan’s film (Paul Franklin, Chris Corbould, Andrew Lockley, and Peter Bebb) deserve a lot of credit for helping build convincing dreamscapes through live action and CGI.
The inventive blend of real locations, stuntwork and CGI were stunning and in the hotel fight sequence, limbo city and the overturning of Paris have set a new standard for effects work at this level.
The score for The Social Network by Trent Reznor and Atticus Ross: One of the most startling and arresting scores in recent memory was this wonderfully discordant electronic score. The way in which the dialogue driven opening scene gives way to the unsettling title sequence is one of the most memorable film transitions of the year.
Just a few minutes later the urgency of the Face Smash sequence is powered by an unforgettable frenzy of beats and noise. In some ways the score to the film is what gives the film it’s unique flavour, with no cliched strings or cliched tracks from the time, it gives the story a distinct and original feel.
The Sounds of Inception: People always get confused between sound mixing and sound editing. To simplify, editing involves how the parts are assembled, whilst mixing is about the whole soundscape is put together.
It is a crucial and often undervalued aspect of movies and in the case of Inception, Richard King did an incredible job of recreating the sounds of all the different dream levels, which involve trains, guns, explosions, punches, car chases. The construction of the audio landscape in Inception was one of the great unsung reasons as to why it worked so well.
Charles Ferguson’s Inside Job: The documentary category this year is incredibly strong but Charles Ferguson’s documentary about the financial crisis deserves special mention.
Brilliantly dissecting the way Wall Street has essentially captured a generation of politicians and held society hostage for their own ends, it is a chilling reminder of how the political orthordoxies of the last 30 years have wreaked havoc but largely gone unpunished.
My favourite film music of the year included albums by Trent Reznor, Hans Zimmer and Daft Punk, whilst tracks by various artists including Zack Hemsey and Grizzly Bear also stood out.
Tron Legacy (EMI): The sequel to Tron was a mixed bag (great visuals, mediocre script) but the score by Daft Punk was unbeliveably epic, fusing their trademark electronica with an orchestra. [Amazon / YouTube]
Inception (Reprise): Hans Zimmer’s score for Christopher Nolan’s sci-fi blockbuster mixed electronic elements, strings and the guitar of Johnny Marr to brilliant effect. [Amazon / YouTube]
The Kids Are Alright (Lakeshore Records): A traditional, but shrewdly assembled collection of traditional and modern songs (featuring the likes of MGMT and David Bowie) which fitted the themes of Lisa Colodenko’s film perfectly. [Amazon / YouTube / The Playlist]
Greenberg (Parlophone): A solid collection of songs from James Murphy alongside tracks by The Steve Miller Band, Duran Duran, Nite Jewel and Galaxie 500. [Amazon / YouTube]
127 Hours (Polydor): Danny Boyle films usually have a memorable soundtrack and this is no exception, featuring music from A.R. Rahman and tracks by various artists including Free Blood, Bill Withers and Sigur Ros. [Amazon / YouTube]
Black Swan (Sony): For Darren Aronofsky’s reworking of Swan Lake, Clint Mansell reworked elements of Tchaikovsky’s original music to spectacular effect. [Amazon / YouTube]
N.B. The soundtracks for Somewhere and Blue Valentine would have easily made the list if they were available to purchase in the UK.
The following tracks are not all directly from soundtracks, but may also have featured on trailers and TV spots for various films.
You can download most of these tracks as a Spotify playlist here or just click on the relevant links to listen to them.