“My studio’s always in my house. I want to wake up and be like, ‘You know I’m gonna make music today in my underwear. You know what I’m gonna be in my pajamas. You know what, I’m actually just gonna stay inside for the next three days so I can make music.’”
The iconic faces of Pixar reduced to their essence in simple, tender logos
Looking for something to watch this weekend?
Martin Scorsese’s Filme School: THE 85 FILMS YOU NEED TO SEE TO KNOW ANYTHING ABOUT FILM
“My reaction [to the prequels] is a certain degree of weary contempt,” says Moore. “It’s gone beyond anger. It’s almost tragically comical. It’s commerce over art. I’m proud of the work I did on Watchmen, but it’s surrounded by such a toxic cloud of memories. I wish I didn’t have to go through them. I don’t even have a copy of the book in the house.”
Enrico Casarosa, writer and director of the Oscar-nominated Pixar short, La Luna, sifts through the Studio Ghibli archives to discuss how Hiyao Miyazaki has influenced him.
When TV writers rewrote this MBA’s life, they changed everything but the truth.
The social media analytics company Bluefin Labs figures out what people are saying about TV on social media—now they’ll try to figure out why they’re saying it.
Henry Joost and Ariel Schulman directed the massive box office winner Paranormal Activity 3 and now have reportedly signed on to the fourth installment in the home-made fright franchise, and will executive produce a Catfish series for MTV. The directors talk with Co.Create about the evolution of storytelling, branded content, and why they’re not really narcissists.
Director Steve Soderbergh talks to Co.Create about his new film Haywire, a revenge-fueled thriller starring a “non-actor,” mixed martial arts fighter Gina Carano.
Some Mobbing Behavior Of Birds With Your Popcorn?
Want to hear a Harvard professor hold forth on the neuropsychology of zombies? Then attend an event at the newly expanded “Science on Screen” series, where films are followed by scientific discourse.
DC Entertainment serves up a sneak peak at the next step in its evolution as a multimedia entertainment company, with a new brand and interactive logo that celebrate its long history of secret identities, superpowers and storytelling.
The new overarching concept embraces the DC Entertainment corporate identity—which comprises publishing, media, and merchandise. That includes the three publishing imprints—DC Comics (superheroes), Vertigo (edgier fare), and Mad Magazine (humor)—plus movies, TV shows, video games, DVDs and merchandising, most of which are distributed by Warner Bros. Thematically, the new look and feel imparts a sense of great storytelling, appeals to all ages, and is flexible across media, digital platforms, and characters.
Ian Phillips helped set the mood in a little vampire movie starring Robert Pattinson and Kristen Stewart. Now he’s the man responsible for turning Amy Poehler and Aziz Ansari into shiny, bare-breasted centuars for one of the many scene-stealing murals in NBC’s Emmy-winning sitcom.
In the clip for “Sprawl II,” you can control the dance moves of creepy suburban drones using your webcam, but there’s more to the video than just its novelty.
We spoke with Arcade Fire collaborator Vincent Morisset to find out more about how Dancing In The Sprawl was created.
With its splashy augmented reality-infused sets, unorthodox format, and world premieres of gamer-baiting blockbusters, this year’s VGAs are rewriting awards show code.