Added by Sarv Taghavian--Creative Planet Network, 04/23/13 11:04:11 AM
NOWNESS writes: A furry beast cavorts on the shoreline as Hawaii becomes a psychotropic paradise after being given the CocoRosie treatment in the band's newest video release. Filmed by Mike Basich in the island state, “After the Afterlife” is taken from the forthcoming album Tales of a Grasswidow. “It was exciting to be given so much creative space when working with CocoRosie,” he says. “It was a special project filming it in a place where the girls grew up in their younger years; adventuring through nature, dreaming of other lives in the land of Hawaii.” READ THE FULL STORY HERE.
Added by Sarv Taghavian--Creative Planet Network, 04/23/13 10:04:53 AM
Ian Parker of The New Yorker writes: Noah Baumbach, the writer and director, has been more willing than most to think of his films of the past decade—about disappointment, broken families, dying pets—as comedies. When Greenberg opened, in 2010, the spectacle of Ben Stiller as a sour, haunted man—an asshole in a down vest—was so off-putting, to some people, that one cinema posted a sign reading, “We must limit refunds to an hour past the start time.” A few years earlier, during a panel that followed a screening of Margot at the Wedding, an audience member compared Nicole Kidman’s character, a self-involved fiction writer, to Hitler’s mother.
Added by Sarv Taghavian--Creative Planet Network, 04/22/13 05:04:50 PM
Amy Chozick of The New York Times writes: Next week, Comedy Central will host a five-day comedy festival that includes a lineup of legends like Mel Brooks and Carl Reiner alongside popular young comics like Amy Schumer and the director Paul Feig. But there will be no smoky comedy clubs. No lone microphones and stools positioned on stage. No two-drink minimum. The festival will take place almost entirely on Twitter, with comedians posting video snippets of routines and round tables and posting jokes using the hashtag #ComedyFest. READ THE FULL STORY HERE.
Added by Sarv Taghavian--Creative Planet Network, 04/22/13 05:04:27 PM
Mike O'Toole of Forbes writes: I’m flying from Boston to Atlanta on a 7:15 Delta flight, barely awake. We’re just taking off. Right now people should be fidgeting or stealing a last-second peek at their phones. Instead, I notice people are looking at the seatback monitors and laughing. It’s the in-flight safety video. The thing that you never, ever pay attention to is making people smile.
Added by Sarv Taghavian--Creative Planet Network, 04/22/13 03:04:59 PM
Brian Brooks of Film Society of Lincoln Center writes: It is hardly an overstatement to describe actress/singer/performer/tour de force Elaine Stritch as a sage of stage, screen and life. At 87, the living Broadway legend still commands the spotlight and she is not afraid to use it to tell anyone exactly what she thinks. In director Chiemi Karasawa's spectacular doc Elaine Stritch: Shoot Me, the Tony and Emmy Award-winning Stritch is revealed through heavy doses of laughter, her thunderous personality, sass and steadfast determination. Still working, the film captures her performing at New York's posh Carlyle Hotel, which she also calls home, as well as on television on the set of 30 Rock.
Added by Sarv Taghavian--Creative Planet Network, 04/22/13 03:04:01 PM
Neil Roberts of RedShark News writes: OK so file this under ubergeeky but I thought some of you might want to see this... At the Saatchi & Saatchi new directors showcase in Cannes last year there was a performance using 16 Quadrotors, Vari-lites and music that has to be the most technically amazing thing I have ever seen. READ THE FULL STORY HERE.
Added by Sarv Taghavian--Creative Planet Network, 04/22/13 02:04:03 PM
Open Culture writes: To some fans of his not-exactly-a-sitcom Louie, Louis C.K. simply appeared a few years ago, fully formed and acclaimed by his peers as perhaps the most skilled, dedicated comedic craftsmen working today. But he does have a past, stretching back well beyond his voice role on the animated series Home Movies and his direction of the film Pootie Tang, and he has offered up entertaining fragments of it online. Above you’ll find his earliest known short film, Ice Cream. Begin watching this black-and-white meditation on the vagaries of disaffected twentysomething love in the nineties — one which opens in a convenient store, no less — and you’ll immediately think of Kevin Smith’s Clerks. But C.K.
Added by Sarv Taghavian--Creative Planet Network, 04/22/13 12:04:53 PM
Joe Berkowitz of Fast Company's Co.Create writes: The song, "Thrift Shop," which currently has nearly 250 million views on Youtube and has gone double platinum, is not by Macklemore; it’s by Macklemore and Ryan Lewis. The fact that both the rapper, whose real name is Ben Haggerty, shares attribution on everything with his producer is a testament to their mutual belief in collaboration. That belief is on full display in the duo’s latest video, and especially its credits. READ THE FULL STORY HERE.
Added by Sarv Taghavian--Creative Planet Network, 04/22/13 12:04:38 PM
Dan Farber of CNET News writes: After evaluating more than 4,000 submissions and commissioning more than a dozen half-hour pilots, Amazon Studios is ready to roll. The "Hollywood" division of the online shopping giant is making 14 pilots available on Amazon Instant Video in the U.S, and the Amazon subscription services Lovefilm UK and Lovefilm Germany, to watch for free and rate and review them. The pilots include shows from established talent and studios, as well as up and comers who cut their teeth online. READ THE FULL STORY HERE.
Added by Sarv Taghavian--Creative Planet Network, 04/22/13 10:04:42 AM
Filmmaker Magazine writes: In the seventh part of Filmmaker‘s interview project with prominent figures from the world of transmedia, conducted through the MIT Open Documentary Lab, Ingrid Kopp, Director of Digital Initiatives at Tribeca Film Institute, answers our questions. Kopp oversees the TFI New Media Fund, runs Tribeca Hacks and produces TFI Interactive during the Tribeca Film Festival. For an introduction to this entire series, and links to all the installments so far, check out “Should Filmmakers Learn to Code,” by MIT Open Documentary Lab’s Sarah Wolozin.