ইইউ’র নিষেধাজ্ঞার পর ইরানের তেল রফতানি সর্বোচ্চ পর্যায়ে
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31/01/2013
18/01/2013
প্রযুক্তিতে ইরানের শ্রেষ্ঠত্ব অর্জন বেশি দূর নয় : আহমাদিনেজাদ : সমঝোতা ছাড়াই ইরান আইএইএ বৈঠক শেষ
প্রযুক্তিতে ইরানের শ্রেষ্ঠত্ব অর্জন বেশি দূর নয় : আহমাদিনেজাদ : সমঝোতা ছাড়াই ইরান আইএইএ বৈঠক শেষ
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08/01/2013
ইরানে অপহৃত যুবকের বর্ণনা : বাংলাদেশী দালাল চক্রের নির্যাতন : ১১ বার বিক্রি ফিরে আসা পুনর্জন্ম
ইরানে অপহৃত যুবকের বর্ণনা : বাংলাদেশী দালাল চক্রের নির্যাতন : ১১ বার বিক্রি ফিরে আসা পুনর্জন্ম
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
Prints of Michael Whelan’s A Memory Light Cover Now Available
Prints of Michael Whelan’s A Memory Light Cover Now Available:
Michael Whelan, the artist on the 14th and final voume of The Wheel of Time, has made prints available of his cover to A Memory of Light. Upon seeing the cover for the first time, Harriet McDougal, Jordan’s editor and widow remarked, “that is the Rand I have waited to see for twenty years.” Prints are available in 20x30 and 24x36 sizes. Ordering information at the link above. You can see Whelan’s painting process in this post.
Read the full article
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Read the full article
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
Cinema of the Backbrain Presents: Attack of the Daikaiju Cats
Cinema of the Backbrain Presents: Attack of the Daikaiju Cats:
Some time ago, the following image appeared in one of the Worth1000 thematic image-creation competitions — a lovely piece of digital manipulation using the latest Photoshop technology (created by “boofhead”):
But the idea of a rampaging giant cat didn’t begin here. Before this, animator Terry Gilliam defended the world from a plague of Killer Cars in the Monty Python’s Flying Circus episode: “How To Recognize Different Parts of The Body” (1970), using not digital manipulation but hand-crafted cut-out methods:
And of course the Goodies inflicted London with a rampaging real-life kitten in the form of “Kitten Kong” (1971), using miniature sets and super-imposed video:
Now, after a bit of a hiatus, however, the Cinema of the Backbrain brings you the latest daikaiju cat — Catzilla. This brief tale of a giant laser-eyed feline and his downfall was created as a demo video by Poland’s Plastic Demoscene Group in collaboration with Platige Image using spectacular state-of-the-art digital animation:
Though the Goodies’ Kitten Kong might have provided more plot, Catzilla (Poland-2012; animation, short [approx. 2:43 min.]; dir. Bartlomiej Kik and Jakub Jablonski) offers a frenetic, eye-popping spectacle that is both fun and very, very cool.
Check it out on the Cinema of the Backbrain now.
Source: via Twitchfilm and Avery Guerra.
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
Some time ago, the following image appeared in one of the Worth1000 thematic image-creation competitions — a lovely piece of digital manipulation using the latest Photoshop technology (created by “boofhead”):
But the idea of a rampaging giant cat didn’t begin here. Before this, animator Terry Gilliam defended the world from a plague of Killer Cars in the Monty Python’s Flying Circus episode: “How To Recognize Different Parts of The Body” (1970), using not digital manipulation but hand-crafted cut-out methods:
And of course the Goodies inflicted London with a rampaging real-life kitten in the form of “Kitten Kong” (1971), using miniature sets and super-imposed video:
Now, after a bit of a hiatus, however, the Cinema of the Backbrain brings you the latest daikaiju cat — Catzilla. This brief tale of a giant laser-eyed feline and his downfall was created as a demo video by Poland’s Plastic Demoscene Group in collaboration with Platige Image using spectacular state-of-the-art digital animation:
Though the Goodies’ Kitten Kong might have provided more plot, Catzilla (Poland-2012; animation, short [approx. 2:43 min.]; dir. Bartlomiej Kik and Jakub Jablonski) offers a frenetic, eye-popping spectacle that is both fun and very, very cool.
Check it out on the Cinema of the Backbrain now.
Source: via Twitchfilm and Avery Guerra.
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
French Bugs in Development: An Interview with Julius Berg
French Bugs in Development: An Interview with Julius Berg:
An Exclusive Backbrain Interview
Bugs is a French feature film project, one that not only shows a lot of promise, but also includes one of the Backbrain’s favourite giant monster species — insects.
Remember all those great mutant bug movies of the 1950s? The Deadly Mantis (US-1957; dir. Nathan Duran) speaks for itself, but there was also the cut-out giant locusts of Bert I. Gordon (Mr B.I.G.)’s The Beginning of the End (US-1957), the giant killer bees of Monster from Green Hell (US-1957; dir. Kenneth Crane) and the no-contest classic of them all, the giant ants of Them! (US-1954; dir. Gordon Douglas). If we add giant arachnids (though they’re not actually insects, of course), represented by the excellent Tarantula (US-1955; dir. Jack Arnold), that other Mr B.I.G. entry Earth vs the Spider (US-1958; dir. Bert I. Gordon), along with the stop-motion animation favourite The Black Scorpion (US-1957; dir. Edward Ludwig), the decade certainly managed to make giant-sized cultural icons out of our creepy-crawly six- (and eight-) legged buddies.
Since then there have been many more, even leaving aside the insectoid opponents of Godzilla, such as Mothra, the super-sized mantises known as Kamakiras, the giant spider Kumonga (aka Spiga) and the giant dragonfly Megaguiras. A few other films worth highlighting are the parody short Mant! from Joe Dante’s Matinee (1993), the little-known Mosquito (US-1995; dir. Gary Jones), Ticks (US-1993; dir. Tony Randell) and the recent Infestation (US-2009; dir. Kyle Rankin). There have been, of course, many more (which you can handily track down on the Backbrain’s giant monster film listing), as well as so many giant spider films it seems best to avoid even mentioning them here (again, try the aforementioned film list). Okay, I’ll mention Eight-Legged Freaks!
So, there have been lots of giant bug movies over the years. Too many? No way! Especially as the new French project, Bugs, looks to be potentially a classy affair indeed, with a very different approach to the subgenre. Check out this trailer:
Avery Guerra: Julius, could you tell us about the trailer?
Julius Berg: Well, I directed this faux trailer in hope of attracting the attention of a foreign producer who might be interested in developing the film in English and in Paris. So, it’s kind of a communication tool to promote the project. Actually, we’re in the process of finishing the script and very soon we’ll be contacting some producers in England and America, so the trailer will mean we have something to show them. Bugs is envisaged as a low-budget and high-concept film which may have some similarities with Matt Reeves’ film Cloverfield. The trailer was created in conjunction with Thierry Arbogast [pictured below], a well-known Director of Photography who has worked with Luc Besson and Brian de Palma.
How about giving us a bit of background about yourself and crew?
I worked for ten years as a director of commercials and more recently on various TV series. Before that, I created a production company called MakingProd (www.makingprod.com), which now specializes in fiction series.
In advertising, I’m represented by Quad, a production company which produced feature films and commercials. They recently produced Untouchable and The Heartbreaker — two big successes in France and in some other countries.
My career in advertising gave me a chance to work with huge artists such as cinematographer Thierry Arbogast (www.thierryarbogast.com). I met the producer Guillaume Dreyfus on a series for Canal+. In fact, gathering the team to create the teaser was actually quite easy. I was fortunate to be surrounded by great talents.
What are your main film influences?
Of course, I’m very influenced by American cinema, especially the New Hollywood that I take as a true period of grace in the history of cinema. I appreciate the freedom of speech and style that the filmmakers managed to have at that time: the ambiguities they showed to exist between good and evil, sympathy for marginal characters and a certain distrust in any form of authority.
Rosemary’s Baby, The Graduate, The Exorcist, Deliverance, and Jaws are some of the films that have made a lasting impression on me. I still have a lot of respect for filmmakers who are able to create a strong atmosphere without showing the object of fear itself. Polanski, for example, didn’t show an evil child, even though Rosemary’s Baby remained a very scary movie all the way through. Genuine cinema.
What sort of achievements and goals have you?
Commercials affords me the opportunity to work in such comfortable and innovative conditions that I’ve been able to explore new and different styles. Directing fiction series for television has also given me a chance to work further with actors in telling an actual extended story.
I’m looking forward to putting together subject matter and style. Feature film seems to offer the right balance for me to do this.
What more can you tell us about this film project without giving away too much?
Bugs is a fantastical film whose action takes place in Paris. Creatures progressively invade the city and plunge its inhabitants into chaos. In the meantime, a young mother must traverse the city through the danger and the devastation to find her 8-year-old son.
The monsters as such are not the film’s main focus and appear only occasionally on screen. It is mainly a film of atmosphere, like Cloverfield and the early works of M. Night Shyamalan. The challenge lies in the downward spiral the main character must go through to save her child.
The title “Bugs” has a double meaning. It refers to insects, of course, but also to mechanisms and systems that go wrong. The film deals with these bugs in the social order that lead us sometimes to act totally irrationally.
As in many monsters movie, creatures can become a metaphor like a social commentary. Romero’s zombies are a satire on consumerism, while other monsters have arisen with the arrival of AIDS. Here, in our film, bugs embody the end of civilization, the rampant poverty that exists amid financial crisis.
What are your inspirations for the film and its creatures?
The creatures are mutant insects: a mix between termites and cockroaches. Following the advent of the nuclear threat many movies in the ’50s dealt with mutation. However, limited VFX often made these monsters look pretty cheap.
From a technical point of view, things are easier today. But the narrative issues remain a major challenge in a filmmaker’s ability to avoid making them into mere unbelievable grotesqueries.
I enjoy thinking that Bugs is the opposite of the animated film Ratatouille. I don’t intend to denigrate the work of Pixar in saying that. On the contrary, I think Ratatouille is a success from every point of view. But Bugs differs from the way Ratatouille‘s creators deal with Paris — world capital of gastronomy, good food, that was a major focus. Instead Bugs deals with the junk food that has invaded our gastronomy and shows a sticky Paris behind an idyllic vision of a perfect Paris.
What would you hope to achieve from this project?
A beautiful meeting!
Any producers/backers out there interested in taking this project on-board should contact Julius Berg via the Quad productions website or the film’s Facebook page.
Sources: Julius Berg via Avery Guerra; Julius Berg’s website; MakingProd website; Quad productions website; IMDb info on Thierry Arbogast. Written by Robert Hood.
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
An Exclusive Backbrain Interview
Remember all those great mutant bug movies of the 1950s? The Deadly Mantis (US-1957; dir. Nathan Duran) speaks for itself, but there was also the cut-out giant locusts of Bert I. Gordon (Mr B.I.G.)’s The Beginning of the End (US-1957), the giant killer bees of Monster from Green Hell (US-1957; dir. Kenneth Crane) and the no-contest classic of them all, the giant ants of Them! (US-1954; dir. Gordon Douglas). If we add giant arachnids (though they’re not actually insects, of course), represented by the excellent Tarantula (US-1955; dir. Jack Arnold), that other Mr B.I.G. entry Earth vs the Spider (US-1958; dir. Bert I. Gordon), along with the stop-motion animation favourite The Black Scorpion (US-1957; dir. Edward Ludwig), the decade certainly managed to make giant-sized cultural icons out of our creepy-crawly six- (and eight-) legged buddies.
Since then there have been many more, even leaving aside the insectoid opponents of Godzilla, such as Mothra, the super-sized mantises known as Kamakiras, the giant spider Kumonga (aka Spiga) and the giant dragonfly Megaguiras. A few other films worth highlighting are the parody short Mant! from Joe Dante’s Matinee (1993), the little-known Mosquito (US-1995; dir. Gary Jones), Ticks (US-1993; dir. Tony Randell) and the recent Infestation (US-2009; dir. Kyle Rankin). There have been, of course, many more (which you can handily track down on the Backbrain’s giant monster film listing), as well as so many giant spider films it seems best to avoid even mentioning them here (again, try the aforementioned film list). Okay, I’ll mention Eight-Legged Freaks!
So, there have been lots of giant bug movies over the years. Too many? No way! Especially as the new French project, Bugs, looks to be potentially a classy affair indeed, with a very different approach to the subgenre. Check out this trailer:
[There is a video that cannot be displayed in this feed. Visit the blog entry to see the video.]
Intrigued, the Backbrain resident kaiju-spotter, Avery Guerra, tracked down director Julius Berg (pictured below on set) and grilled him on the subject. Though reluctant to reveal much about the mutant insects themselves — and in particular their size — he was more than willing to discuss the film and its potential genesis.
Avery Guerra: Julius, could you tell us about the trailer?
Julius Berg: Well, I directed this faux trailer in hope of attracting the attention of a foreign producer who might be interested in developing the film in English and in Paris. So, it’s kind of a communication tool to promote the project. Actually, we’re in the process of finishing the script and very soon we’ll be contacting some producers in England and America, so the trailer will mean we have something to show them. Bugs is envisaged as a low-budget and high-concept film which may have some similarities with Matt Reeves’ film Cloverfield. The trailer was created in conjunction with Thierry Arbogast [pictured below], a well-known Director of Photography who has worked with Luc Besson and Brian de Palma.
I worked for ten years as a director of commercials and more recently on various TV series. Before that, I created a production company called MakingProd (www.makingprod.com), which now specializes in fiction series.
In advertising, I’m represented by Quad, a production company which produced feature films and commercials. They recently produced Untouchable and The Heartbreaker — two big successes in France and in some other countries.
My career in advertising gave me a chance to work with huge artists such as cinematographer Thierry Arbogast (www.thierryarbogast.com). I met the producer Guillaume Dreyfus on a series for Canal+. In fact, gathering the team to create the teaser was actually quite easy. I was fortunate to be surrounded by great talents.
[Above: actress Vahina Giocante and Julius Berg on set]
What are your main film influences?
Of course, I’m very influenced by American cinema, especially the New Hollywood that I take as a true period of grace in the history of cinema. I appreciate the freedom of speech and style that the filmmakers managed to have at that time: the ambiguities they showed to exist between good and evil, sympathy for marginal characters and a certain distrust in any form of authority.
Rosemary’s Baby, The Graduate, The Exorcist, Deliverance, and Jaws are some of the films that have made a lasting impression on me. I still have a lot of respect for filmmakers who are able to create a strong atmosphere without showing the object of fear itself. Polanski, for example, didn’t show an evil child, even though Rosemary’s Baby remained a very scary movie all the way through. Genuine cinema.
What sort of achievements and goals have you?
Commercials affords me the opportunity to work in such comfortable and innovative conditions that I’ve been able to explore new and different styles. Directing fiction series for television has also given me a chance to work further with actors in telling an actual extended story.
I’m looking forward to putting together subject matter and style. Feature film seems to offer the right balance for me to do this.
What more can you tell us about this film project without giving away too much?
Bugs is a fantastical film whose action takes place in Paris. Creatures progressively invade the city and plunge its inhabitants into chaos. In the meantime, a young mother must traverse the city through the danger and the devastation to find her 8-year-old son.
The monsters as such are not the film’s main focus and appear only occasionally on screen. It is mainly a film of atmosphere, like Cloverfield and the early works of M. Night Shyamalan. The challenge lies in the downward spiral the main character must go through to save her child.
The title “Bugs” has a double meaning. It refers to insects, of course, but also to mechanisms and systems that go wrong. The film deals with these bugs in the social order that lead us sometimes to act totally irrationally.
As in many monsters movie, creatures can become a metaphor like a social commentary. Romero’s zombies are a satire on consumerism, while other monsters have arisen with the arrival of AIDS. Here, in our film, bugs embody the end of civilization, the rampant poverty that exists amid financial crisis.
The creatures are mutant insects: a mix between termites and cockroaches. Following the advent of the nuclear threat many movies in the ’50s dealt with mutation. However, limited VFX often made these monsters look pretty cheap.
From a technical point of view, things are easier today. But the narrative issues remain a major challenge in a filmmaker’s ability to avoid making them into mere unbelievable grotesqueries.
I enjoy thinking that Bugs is the opposite of the animated film Ratatouille. I don’t intend to denigrate the work of Pixar in saying that. On the contrary, I think Ratatouille is a success from every point of view. But Bugs differs from the way Ratatouille‘s creators deal with Paris — world capital of gastronomy, good food, that was a major focus. Instead Bugs deals with the junk food that has invaded our gastronomy and shows a sticky Paris behind an idyllic vision of a perfect Paris.
What would you hope to achieve from this project?
A beautiful meeting!
Any producers/backers out there interested in taking this project on-board should contact Julius Berg via the Quad productions website or the film’s Facebook page.
Sources: Julius Berg via Avery Guerra; Julius Berg’s website; MakingProd website; Quad productions website; IMDb info on Thierry Arbogast. Written by Robert Hood.
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
New 'Bone' in Milky Way Skeleton Discovered
New 'Bone' in Milky Way Skeleton Discovered: The structure is more than 300 light-years long but just 1 or 2 light-years wide.
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
The Alien from Aliens Was Originally Chinese, Alleges Flea Market Art Find
The Alien from Aliens Was Originally Chinese, Alleges Flea Market Art Find:
Swiss surrealist artist H. R. Giger is credited with designing the Alien (née Xenomorph) from the iconic movies and games. More »
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http://banglamdfarid-com.webs.com/www.banglamdfarid.com
6 Reasons Why Batman is Both Perfect and Boring
6 Reasons Why Batman is Both Perfect and Boring:
A few months ago some friends and I were talking about characters who were boring on their own but had wonderful stories built around them. Among the characters discussed were Luke Skywalker, and Harry Potter, and then I brought up Batman. This did not go over well, but I believe it to be true. And I'm going to give you a few reasons why. More »
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http://banglamdfarid-com.webs.com/www.banglamdfarid.com
The winning images from Nat Geo's 2012 Photography Competition will blow you away
The winning images from Nat Geo's 2012 Photography Competition will blow you away:
The winners of the 2012 National Geographic Photography Competition have been announced, and they are astounding. More »
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http://banglamdfarid-com.webs.com/www.banglamdfarid.com
Dinosaurs probably shook their tail feathers and "struck a pose" to attract mates
Dinosaurs probably shook their tail feathers and "struck a pose" to attract mates:
After studying a curious feature in the tail section of oviraptor fossils, a paleontologist from the University of Alberta has concluded that these small dinosaurs must have used their tail plumage to attract mates, a strong indication that these creatures were more sophisticated, elegant — and daintier than previously thought. The theory also adds further credence to the suggestion that feathers played an important intermediary function in the lives of dinosaurs prior to providing them with the capacity for flight. More »
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
Brand new Avengers concept art takes us inside S.H.I.E.L.D.'s hardware!
Brand new Avengers concept art takes us inside S.H.I.E.L.D.'s hardware!:
We've seen a lot of great concept art from The Avengers — but now the motherlode of concept drawings and set designs has come online. Production Designer James Chinlund (whom we interviewed here) has posted a complete look at the movie's design, starting with Bryan Hitch's work in The Ultimates and going from movie concept art to the final designs. More »
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
Does it matter that Spider-Man is a different character on TV, movies and comics?
Does it matter that Spider-Man is a different character on TV, movies and comics?:
As of this week, the comics version of Spider-Man is about as different as you can get from the movie version, played by Andrew Garfield. And Marvel's also publishing an Ultimate version of Spider-Man who's now Miles Morales. Meanwhile, on television, there's a Spider-Man who's ostensibly the same character as Garfield's, but 70 percent less angsty and friends with the folks from S.H.I.E.L.D. More »
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
http://banglamdfarid-com.webs.com/www.banglamdfarid.com
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Cinema of the Backbrain Presents: Attack of the Daikaiju Cats : Some time ago, the following image appeared in one of the Worth1000 themat...
